TV DANCE REVIEW : Baryshnikov & Friends Offer Pastiche on PBS

Do you accept the term “concert version” to describe a one-act ballet that’s been cut in half? That’s how the PBS “Dance in America” series labels its drastic abridgement of “Who Cares?” in the two-part program called “Baryshnikov Dances Balanchine With American Ballet Theatre” tonight (9 p.m. on Channels 28, 15 and 24; Saturday at 9 p.m. on Channel 50).

The program title is also misleading, since American Ballet Theatre has never had “Who Cares?” in its repertory. In truth, what you’re seeing are productions devised for a “Baryshnikov & Friends” tour, one of those private, off-season ventures in which a superstar and a small number of colleagues visit cities where major companies seldom perform.

This small, unacknowledged fact explains the absence of a corps in “Who Cares?” and the presence in “Apollo” of New York City Ballet principal Stephanie Saland. It also may account for the sense of stylistic dislocation in both ballets--each of which has been previously seen on PBS in a more persuasive performance.

Baryshnikov is in superb physical condition throughout. The finale of “Who Cares?” has even been rechoreographed and now accommodates his familiar specialties: high-velocity compression-turns and hops on the working leg while turning. But he works far too hard here to ever seem relaxed or easygoing; the throwaway Americanisms look forced, the partnering effortful.

In “Apollo,” Baryshnikov dances with great concern for the unorthodox plastique of the choreography but is sometimes mannered, as if he’s decided that Apollo is a Soviet-style character role. In other passages, however, he embodies neoclassic nobility--and the extremes fail to mesh.

The links between “Apollo” (1928; music by Stravinsky) and “Who Cares?” (1970; music by Gershwin) have long preoccupied dance critics, so putting the two ballets together ought to be more stimulating than this telecast suggests. Part of the problem comes from casting Christine Dunham as both Terpsichore in “Apollo” and her counterpart in “Who Cares?” Dunham dances with great refinement and a sumptuous softness, but never defines either role strongly enough for us to see its reflection in the other.

In contrast, Leslie Browne dances Polyhymnia in “Apollo” and the “Stairway to Paradise” role in “Who Cares?” forcefully--but as if they were exactly the same. In the latter work, Deirdre Carberry is a bit shaky in her solo but assured in the duet with Baryshnikov.

Matching Dunham’s purity, but with a sharper, more crystalline quality of movement, Saland is exceptional as Calliope in “Apollo.” For once, Apollo chooses the wrong Muse.

Taped in Denmark, the telecast is decently directed by Thomas Grimm. Paul Connelly conducts the Danish Radio Concert Orchestra. The fine solo pianist in “Who Cares?” is uncredited, but ABT manages to list everyone on its payroll down to the company masseur.